New Yorker editor and McSweeney's contributor Ben Greenman reshapes Russian literature's most celebrated stories around America's most popular pop culture icons, probing the deep complexities of Anton Chekov (not to mention those of Cruise or Kardashian). Thought-provoking and funny, these wryly re-imagined tales will be sure-fire favorites for every kind of reader, whether your favorite escapes are celebrity memoirs like L.A. Candy and The Truth about Diamonds, re-conceived classics like Wicked, literary parodies like Pride and Prejudice and Zombies, or masterpieces of fiction from authors like Tolstoy, Pushkin and Chekhov himself.
"Chekhov's keen powers of observation have been remarked by both memoirists who knew him well and scholars who approach him only through the written record and across the distance of many decades. To apprehend Chekhov means seeing how Chekhov sees, and the author's remarkable vision is understood as deriving from his occupational or professional training and identity. But we have failed to register, let alone understand, just what a central concern for Chekhov himself, and how deeply problematic, were precisely issues of seeing and being seen."—from the Introduction Michael C. Finke explodes a century of critical truisms concerning Chekhov's objective eye and what being a physician gave him as a writer in a book that foregrounds the deeply subjective and self-reflexive aspects of his fiction and drama. In exploring previously unrecognized seams between the author's life and his verbal art, Finke profoundly alters and deepens our understanding of Chekhov's personality and behaviors, provides startling new interpretations of a broad array of Chekhov's texts, and fleshes out Chekhov's simultaneous pride in his identity as a physician and devastating critique of turn-of-the-century medical practices and ideologies. Seeing Chekhov is essential reading for students of Russian literature, devotees of the short story and modern drama, and anyone interested in the intersection of literature, psychology, and medicine.
"A charismatic actor, a compelling director, and a teacher who developed a dynamic antidote to Russian Naturalism, Chekhov remains the invisible man of the modern theatre. Was he, as Lee Strasberg alleged, a dangerous mystic who would subvert the vigor of Stanislavsky's teachings and undermine the integrity of The Group Theatre? Or was he, as his disciples - Yul Brynner, Ingrid Bergman, Jack Palance, Leslie Caron, Jennifer Jones, Patricia Neal, Anthony Hopkins, and Jack Nicholson - believed, a man who had discovered a unique approach to acting that transcended the precepts enshrined in Stanislavsky's "system"?"--BOOK JACKET.
In his brief life, Chekhov was a doctor, essayist, dramatist and a humanitarian. He saw no conflict between art and science or art and medicine. This collection of stories presents powerful portraits of doctors in their everyday lives, struggling with their own personal problems.
A revelatory portrait of Chekhov during the most extraordinary artistic surge of his life. In 1886, a twenty-six-year-old Anton Chekhov was publishing short stories, humor pieces, and articles at an astonishing rate, and was still a practicing physician. Yet as he honed his craft and continued to draw inspiration from the vivid characters in his own life, he found himself—to his surprise and ocassional embarassment—admired by a growing legion of fans, including Tolstoy himself. He had not yet succumbed to the ravages of tuberculosis. He was a lively, frank, and funny correspondant and a dedicated mentor. And as Bob Blaisdell discovers, his vivid articles, stories, and plays from this period—when read in conjunction with his correspondence—become a psychological and emotional secret diary. When Chekhov struggled with his increasingly fraught engagement, young couples are continually making their raucous way in and out of relationships on the page. When he was overtaxed by his medical duties, his doctor characters explode or implode. Chekhov’s talented but drunken older brothers and Chekhov’s domineering father became transmuted into characters, yet their emergence from their families serfdom is roiling beneath the surface. Chekhov could crystalize the human foiibles of the people he knew into some of the most memorable figures in literature and drama. In Chekhov Becomes Chekhov, Blaisdell astutely examines the psychological portraits of Chekhov's distinct, carefully observed characters and how they reflect back on their creator during a period when there seemed to be nothing between his imagination and the paper he was writing upon.
The Routledge Companion to Michael Chekhov brings together Chekhov specialists from around the world - theatre practitioners, theorists, historians and archivists – to provide an astonishingly comprehensive assessment of his life, work and legacy. This volume aims to connect East and West; theatre theory and practice. It reconsiders the history of Chekhov’s acting method, directing and pedagogy, using the archival documents found across the globe: in Russia, England, America, Germany, Lithuania and Switzerland. It presents Chekhov’s legacy and ideas in the framework of interdisciplinary theatre practices and theories, as well as at the crossroads of cultures, in the context of his forays into such areas as Western mime and Asian cosmology. This remarkable Companion, thoughtfully edited by two leading Chekhov scholars, will prove invaluable to students and scholars of theatre, theatre practitioners and theoreticians, and specialists in Slavic and transcultural studies. Marie-Christine Autant-Mathieu is Director of Research at the National Center For Scientific Research, and Assistant-Director of Sorbonne-CNRS Institute EUR’ORBEM. She is an historian of theatre and specialist in Russian and Soviet theatre. Yana Meerzon is Associate Professor in the Department of Theatre, University of Ottawa. Her book publications include Adapting Chekhov: The Text and Its Mutations, co-edited with Professor J. Douglas Clayton, University of Ottawa (Routlegde, 2012).
What is Chekhov’s method of ensuring audience participation? What does his stage direction ‘through tears’ mean? What happens between the first and second acts of The Seagull? Is there any reason for the despondency in Chekhov’s drama? This book, first published in 1972, discusses these questions and many other issues around Chekhov’s last four plays. David Magarshack, the leading translator and biography of many of Russia’s greatest writers, closely examines Chekhov’s work for the relevant facts about his writing, and demonstrates that no reliance should be placed on the so-called subtext which can introduce all sorts of irrelevancies arising from pre-conceived ideas about the plays. A careful reading of Chekhov’s text itself is all that is needed to correct the familiar distortions of his characters and themes.
Eminent critic Richard Gilman examines each of Chekhov's full-length plays, showing how they relate to each other, to Chekhov's short stories, and to his life. Gilman places the plays in the context of Russian and European drama and the larger culture of the period, and the reasons behind the enduring power of these classic works.
